No. 23, also known as "Passion". It is said to be one of Beethoven's masterpieces of the middle period of his piano sonatas. The range of the piano is much wider (68 keys made by Erard), and the effect of the piano is said to have been used very well in the composition. However, the octave "Do" in bars 310 and 312 and "Mi" in bars 318 and 320 of the third movement, from the arrangement of the notes before and after them, Beethoven used the octave "Do" and "Mi" one more octave lower than the octave "Do" and "Mi", respectively. The placement of the notes before and after them suggests that Beethoven may have wanted to play them one octave lower, "Do" and "Mi" respectively. （The reason is that the range of pianos at that time, though considerably expanded, still could not play that far (the lower limit of the Erard piano was F1). So I experimentally played it an octave lower.
Incidentally, the bass register was further expanded around No. 29 "Hammerklavier," and this seems to have been one of the reasons for the creation of his masterpieces. So the history of Beethoven's piano sonatas is inversely related to the history of progress of the piano at that time.
One more thing, in the first movement of this piece, you use the "fate motif (example un, jajajaun)" in the left hand in bars 10, 12, and 13. I'm playing it quietly in pp here. (The part circled by a square)
I found out that this motif is secretly (?) used in various songs. I found that this motif is secretly (?) used in various songs.
Well, it is said that No. 23 has a fast tempo and is technically difficult to play (especially in the third movement). （The tempo is fast, and it is said to be technically difficult to play (especially in the third movement). I'll review it again in a little while. I'll give you a chance to listen to it for the time being.
Title: Piano Sonata No.23 in F minor, Op.57
Sound Source: Vienna Synchron Concert D-274
Audio file format: mp3